a 


RARE TAPESTRIES 


COLLECTION OF THE LATE 
EMILE JELLINEK-MERCEDES 


NICE + FRANCE 


EXHIBITION AND SALE AT THE 


AMERICAN ART GALLERIES 


MADISON AVENUE + 56+h TO 57th STREET 
New YorK 


FREE PUBLIC EXHIBITION 


From Saturday, February 13, Until Time of Sale 
Weekdays 9 a.m. to 6 p.m. 7 Sunday 2 to 5 p.m. 


UNRESTRICTED PUBLIC SALE 
Saturday Afternoon, February 20, at 4 O’Clock 


Exhibition and Sale at the 


AMERICAN ART GALLERIES 


MADISON AVENUE 7 56¢h TO 57th STREET 


New York (ity 
1926 


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553 8 i prapen ss eee 8 


VILLA MERCEDES, PROMENADE DES ANGLAIS, NICE 


XVI-XVII AND XVIII CENTURY 


TAPESTRIIES 


GOBELINS +, BRUXELLES 
AUBUSSON, FLEMISH & 
VIEUX PARIS EXAMPLES 


GOILLECTION OF THE LATE 


EMILE JELLINEK-MERCEDES 
NICE » FRANCE 


Sales Conducted By Mr. O. Bernet & Mr. H. H. Parke 


AMERICAN ART ASSOCIATION - INC. 
MANAGERS 


4 ME Se o cy 
The AMERICAN ART ASSOCIATION, 


Designs its Catalogues is 
and Directs -All Details of Illustration 
Text and Typography ae. * 


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FOREWORD 


HIS sale of tapestries is one of the rare events of 
the public salesroom. For these tapestries are all 
of a high standard of value in the art sense, as well 
as in the mere monetary way. ‘They were as- 
sembled over a number of years by a man distin- 

guished as an industrialist, whose interest in tapestries began as a 
casual incident and developed into a real and understanding pur- 
suit of the excellence to be found in this ancient art. 

The collection is small—thirty-two fabrics—but the units and 
in some instances the suites are important, they are beautiful pro- 
ductions, and their state of preservation is remarkable. ‘Their 
brilliance of color and soundness of texture are notable. And as 
they have not been “backed,” or lined, their structure is open to 
inspection—a condition none too often found. 

The incipience of the collection was romantic, but perhaps a 
word of the personality of the collector is in order—for 
those who do not follow the aftairs of the automobile industry; 
for those who do it is not necessary. 

The late Emile Jellinek-Mercedes called himself originally 
simply Jellinek. His attention was early attracted to the auto- 
motive industry, and when he had developed a car which chal- 
lenged public attention he sought a name for it that would have 
an agreeable sound to the public ear. Lo, it was at his hand: 
the name of his eldest daughter, Mercedes, who literally gave her 
name to her father, for later the Austrian Emperor conferred 
on him the right to the appellation, and he became Jellinek- 
Mercedes. 

Jellinek one day wrote to “Pere”? Daimler asking—the motors 
were then at the rear or else under the driver’s seat—why the 
motor could not be put in front “so I can see it, as I could see the 
horses.’’ After objections, this led to the placing of the motor 
in front and the appearance of the famous 12 H.P. Daimler, and 
on to large tires and light machines. 

Fortune followed, and the Villa Mercedes on the Promenade 
des Anglais at Nice, known to all automobile enthusiasts, enter- 
tained many visitors, Americans not the least among them. Emile 
Jellinek-Mercedes wanted tapestries to decorate the halls that held 


so many callers. Walking one evening, he saw under electric light 
at the shop of an antiquarian in Nice a small picture under glass 
and the delicacy of its color caused him to take it for a pastel. 
The merchant had that same day bought it; its price was 250 
francs. 

The next day M. Jellinek removed the glass and found a 
Savonnerie tapestry like one in the Louvre. Within a week he 
refused an amateur’s offer of a hundred times what he paid for 
his, and his taste for tapestries was born. He canvassed museums 
and collections, and when he could he bought. He knew the im- 
perial Hapsburg collection, and studied and sought for productions 
of the same factories represented there, and as occasion and funds 
oftered opportunity he bought further. Hence the present collec- 
tion. ‘he Barons de Rothschild, fervent lovers of the Mercedes 
car, made gifts of tapestries to him from their palatial homes. 

When the war came the tapestries were seized by the French 
Government, and were for a long time “‘lost.”” After their recoy- 
ery some of them were wanted by the Louvre, but funds were 
insufhcient. America is thereby the gainer. 

The catalogue of the collection is so short that details will 
not be repeated here. Sufficient to say that Paris and Brussels, 
the Gobelins and famous Flemish ateliers, Aubusson and Italian 
tapestries are all here represented, in some instances by signed 
pieces. ‘The subjects include illustrations from the story of “Les 
Amours de Gombaud et de Macé,” a biblical incident from Re- 
becca’s history, details of Cesar’s triumphs, of Constantine’s glory, 
of the Feast of the Vintage, mythological and allegorical studies, 
and an example of the most rare Don Quixote series, ‘Sancho 
berné.” ‘The “Jeux d’Enfant” are after drawings by Le Brun, the 
first director of the Gobelins, under Louis,XIV. The tapestries 
date from the early Sixteenth, the Seventeenth and the Eighteenth 
centuries. 

Dana H. Carrouy 
NEw York, January, 1926. 


SCSPSSOHSSSSHSHSSHSHHSHSHHSHSHSSHSSHSSSHHHSSHHSHTHHFSHHHHSHHHHHTHTHH STHHHSEO®S 


AMERICAN Art Association, INc., MANAGERS 
SALE AT THE AMERICAN ART GALLERIES 


COLLECTION OF THE LATE EMILE JELLINEK- MERCEDES 
(Nice, France) 


Saturday Afternoon, February 20, 1926 
To save time and to prevent mistakes each purchaser will oblige the 


management by filling in this slip and handing it to the record clerk or 
sales attendant on making the first purchase. 


Purchaser’s Name 


Address in Full 


Amount of Deposit 


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AFTERNOON SALE 


Peery, FEBRUARY 20, 1926, A’l-4 P: M. 


Catalogue INCU cer tO uum ILC LUS1.We 


I. 


BRUSSELS; TAPESTRY Eighteenth Century 


RETURN FROM THE HUNT. Amid surroundings of trees, with 
considerable open space separating them, hunters return with 
game birds to their credit. In the foreground a woman is 
seated sidewise on a white horse, her back to the spectator and 
game swinging from the saddle-bags. A man converses with 
her, his head just seen above the neck of the horse. In front of 
the steed another huntsman kneels, putting other dead birds 
into a basket. At left in middle distance a man appears on 
horseback, a second man appearing at his side, conversing 
as to direction. Opposite them, on the right, a building 
occupies a point of land about which winds a river, where a 
woman is engaged in washing linen, while sheep browse and 
drink near her. 


Height, 7 feet 11 inches; width, 6 feet 8 inches. 


Senin ido i ASA GES Ft NOES 


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CATALOGUE No. 


FLEMISH TAPESTRY Seventeenth Century 


Mythological scene. Four persons appear in the foreground, 
under a canopy of verdure, the swaying branches of trees at 
either side leaving an opening at the centre, the eye traveling 
on across streams and trees golden in the sunshine to distant 
hills and mountains. The principal figures are two women, 
one in a light gown interwoven with gold and wearing a 
necklace of jewels, advancing to embrace a taller one in an 
orange-yellow drapery. Looking on are two lesser figures, 
one in a rose tunic, standing with folded arms before a tree 
on the right, the other on the left and wearing a crimson 
mantle, a hand extended in gesture. Formal border of bril- 
liant flowers precisely executed. 


Height, 9 feet 9 inches; length, to feet 7 inches. 


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CATALOGUE No. 


3. BRUSSEES! GAPESERY Seventeenth Century 


Mythological scene. Diana and another goddess, in rich and 
abundant jeweled draperies and accompanied by dogs in leash 
walk forward side by side, both with graceful gestures. Their 
draperies are ivory-white and old-gold, with reliefs in delicate 
tones and emphasis in crimson and blue. ‘The group is in 
bright sunshine, in surroundings of shrubbery and trees, a 
stream running near by, and at the left a monumental pedestal 
with a sculptured urn on top of it. In the distant back- 
ground architecture is seen among the hills. Border of gar- 
lands, trophies and birds, in bright colors on a bright ground. 


Height, 10 feet 6 inches; width, 10 feet § inches. 


From the collection of Baron Henri de Rothschild. 


CATALOGUE No. 3 


BRUSSELS TAPESTRY Seventeenth Century 


YOUNG HERDSMAN ATTACKED BY WARRIORS. In a central 
clearing in a wooded landscape a handsome young herdsman is 
the victim of an armed attack; seven figures appear altogether, 
the seigneur of the estate coming to the rescue and others 
also hastening up. The youth stands helplessly at the centre 
of the composition, his golden hair eloquent and his orange 
mantle flying in the breeze. ‘Trees stand behind the central 
group and beyond them a stream crosses the landscape, while 
in the background toward the right are broad grounds before 
an imposing castle with tall mountains rising above it, all in 
brilliant sunshine. Bordered with garlands in bright colors 
on a dull ground. 

Height, 10 feet; length, 17 feet. 


- ‘ON ANDOTF.LVD 


FLEMISH TAPESTRY Seventeenth Century 


Mythological scene with déesses. Before trees brightly illu- 
mined in the sunlight Mercury comes flying down, bearing 
before him the caduceus, on a mission to a group of god- 
desses who are gathered in the central foreground. They 
are in various attitudes and wear draperies of differing colors, 
and one carries garlands in her hands. At the left are two 
figures walking away from the scene, one ina blue mantle and 
carrying a basket of flowers, and his companion clad in ivory, 
golden-yellow and brown. In the background, seen between 
the trees, a distant city appears in bright sunshine. Border 
of rich garlands in bright colors on a light ground. 


Height, 10 feet; length, 13 feet 3 inches. 


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CATALOGUE No. 5 


AUBUSSON TAPESTRY Eighteenth Century 


“Le MAY”; the féte of the month of May. Under a canopy 
of red draperies and garlands of white flowers—the garlands 
being continued in scrolls down the sides and across the bot- 
tom to frame the whole composition—a youth and a maid 
in eighteenth century costume dance around the garlanded 
May-pole to the music of a flute played by another maid re- 
clining on the ground at left. The costumes are of blue and 
rose, old-gold and a rich ivory-white. ‘The divertissement 
takes place in a sylvan landscape, the distance being under a 
light haze, and the nearer trees being a soft brown relieved 
by golden-brown shadows, and one on the right supporting 
bright blossoms. 


Height, § feet 11 inches; length, 7 feet 4 inches. 


A companion to the succeeding number. 


6 


CATALOGUE No 


AUBDUSSON DAPRES ERY Eighteenth Century 


L’oIsELEUR. Under draperies similar to those of its com- 
panion tapestry in the preceding lot, the composition enclosed 
is a varied one, with trees and shrubbery at either side, a 
cottage with high-peaked roof at left in the middle distance, 
buildings on a tall cliff opposite it on the right, and in the far 
distance a city beyond a stream. At the centre of the fore- 
ground the bird-catcher is seated beside a tree, his lady-love 
seated on the ground at his side in intimate companionship. 
A basket of flowers lies beside her. Both youth and maiden 
have their gaze fixed upon birds which are gathering toward 
a trap he has rigged near a pool, a long line to which he holds 
in one hand. 


Height, 5 feet 11 inches; length, 8 feet 2 inches. 


A companion to the preceding number. 


4°ON FADOTF.LVOD 


PARIS TAPESTRY—GOBELINS? Seventeenth Century 


Allegorical composition. Wisdom represented by a river 
pictured as an aged semi-nude man half-reclining, at left, con- 
jures Youth—a young man approaching from the right on a 
run—not to deliver himself to the follies of love. The youth 
wears a-quiver of arrows, but has thrown away his bow, and 
breathlessly extends his arms toward Cupid, who appears on 
a cloud with a dart aimed at a vague Beyond. The youth 
wears a crimson mantle on which the light shimmers. Open 
background partly wooded. Interlacing scrolled border of 
strap-work, accented by floral figures and at the corners by 
cartouches, in gold on a blue ground. 


Height, 9 feet 7 inches; length, 9 feet 10 inches. 


CATALOGUE No. 8 


AUBUSSON TAPESTRY Eighteenth Century 


DES ENFANTS JOUANT A SAUTE-MOUTON. Boys playing leap- 
frog, with one on the back of another who bends over, his head 
resting on a third boy’s knees. A fourth at the left starts 
to run to make his leap, and a fifth, an older youth, stands 
at the centre beside a tree, looking on. From the doorway 
of a gabled building on the left a maid in white cap looks out, 
and at the foot of a tree at the right a lady sitting on a 
felled stump reaches to take a child at her knee. She is in 
a rose gown, the child in a light blue. To these colors gol- 
den ones are added in the costumes of the others. The scene 
is a garden with trees and a monumental fountain. Scrolled 
border with flowers, and at the corners cartouches. 


Height, 9 feet 2 inches; length, 12 feet 6 inches. 


6°ON FADOTF LVI 


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AUBUSSON TAPESTRY Eighteenth Century 


Four persons at the border of the sea, a Watteau composi- | 
tion. Between fluted columns with ornamental capitals the 
spectator has a view of the sea, with small shipping afloat, 
across a narrow bank where slender trees appear growing 
lower down the slopes. Here are four figures, a youth stand- 
ing, looking seaward, and three girls. Of the girls one is 
standing and two are seated. Before the seated girl at the 
centre a pet dog on his hind legs begs for the morsel she 
holds tauntingly beyond his reach. The costumes display 
rose, crimson, cerulean, golden-yellow and ivory-white. The 
columns at the sides are wound with luminous garlands, and 
other garlands festooned across the top of the picture are 
supported by cupids. 


Height, 8 feet 8 inches; width, 5 feet 2 inches. 


CATALOGUE No. Io 


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GOBELINS TAPESTRY kighteenth Century 


THE VOICE OF LOVE. Amid an orderly confusion of verdure, 
flowers, fruits and trees, two ladies appear in the foreground 
beside a fountain pool. Both face front and towards the right, 
the younger appareled in golden-yellow, mauve and rose, and 
wearing her hat. She appears disposed to quit the tender 
mother in old-rose kneeling at her side and caressing her arm, 
and to follow the call of her heart, while the mother makes 
a quiet appeal that she remain with her. Above, a pair of 
loves seems to call. The surrounding leafage, fruits and 
flowers are in soft tones of blue and green, brown, ivory and 
delicate hues of old-gold. Border of narrow columns or 
rustic pillars enwound with garlands. 


Fleight, 8 feet 3 inches; width, 6 feet 9 inches. 


CAlaLOGUE No, 11 


1s2 


FLEMISH TAPESTRY Sixteenth Century 


SERIES OF ‘GOMBAUD ET MACE.’ On a green sward dotted 
with trees and an occasional building groups of peasant fig- 
ures in garments of rich color are seated and standing, in ex- 
emplification of bounteous and joyous living, while two 
mounted gentlemen at the left are overlooking them. Do- 
mestic animals appear among them, and six scrolls variously 
placed bear informative legends—little songs in verse, in old 
French, some having the flavor of bucolic jollity. In the 
foreground, among growing flowers, various birds appear, 
looking on while an eagle—or falcon—pounces upon a heron. 
Wide border of cartouches, flowers, masks, both human and 
animal, fauns, cupids and fruits. 


Fleight, 11 feet 9 inches; width, 11 feet 4 inches. 


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CALALOGUE No. 12 


13. FLEMISH TAPESTRY Sixteenth Century 


SERIES OF ‘“GOMBAUD ET MACE.’ Three couples of the peas- 
antry, in medieval garments of soft color, are the conspicuous 
figures of a rural composition which embraces fruit trees in 
bearing, flocks and dignified aquatic birds. In the central 
background is a water mill. One couple standing at the edge 
of a wood at the left, in each other’s arms, are explained by 
the legend overhead, as are two other figures by another 
legend. These latter stand as the central group of the pic- 
ture, at the head of a croquet ground—this tapestry in fact 
being sometimes entitled ‘‘Le jeu de croquet.’ Beyond them, 
at a little distance to the right, the third couple—a young 
woman clinging to a tree and a youthful shepherd standing 
with a hand on her shoulder—have the third legend for 
their portion, the lines of all racy of the countryside and the 
life of the peasantry as portrayed in the romance. The bor- 
der a companion to that of the preceding tapestry. 


Height, 11 feet 8 inches; width, 8 feet 5 inches. 
Note: The pieces of this series of tapestries are found also in the imperial 


collection of the Hapsburg family. Reproductions of them were woven later, 
in the Seventeenth Century, at the Gobelins factory. 


CATALOGUE No. 13 


14. 


FLEMISH, TAPESTRY Early Sixteenth Century 


Biblical subject: “Rebecca Gives to Drink.” An elaborate 
picture, of intricate and multitudinous detail, brilliant in the 
light of outdoors and extensive in its illustration. At left of 
the centre stands Rebecca, facing the right, three-quarters 
front, and before her Abraham’s eldest servant who “ruled 
over all that he had” receiving at her hands the pitcher of 
water. Behind them at left the “daughters of the men of 
the city” drawing water at the fountain, and at right the 
camels. In the distance the buildings of the city before blue 
mountains. Below the central figures the marriage of Re- 
becca is represented in a group of eight. Vases of flowers 
stand before columns at the sides, the columns surmounted by 
statuary figures from which depend garlands of fruit and 


flowers. 
Height, 8 feet; width, 6 feet 8 inches. 


From the collection of Baron Springer. 


14 


CATALOGUE No. 


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ITALIAN TAPESTRY, WITH COMPANION PIECE 

Early Sixteenth Century 
L/ ENTREE TRIOMPHALE DE CESAR. ‘The conqueror’s chariot. 
drawn by two prancing horses, passes to right across the scene, 
and on it are two semi-nude figures of vanquished kings, 
bound to an upright bundle of palms from which their crowns 
are suspended, their arms lying at their feet. “Ihe conqueror 
mounted, preceded by heralds and followed by warriors afoot, 
leads the procession, which passes before an obelisk and in- 
terested groups of people, with city buildings in the back- 
ground. Wide border with a red-brown ground, on which 
appear in soft colors trophies, ewers, crowns, winged human 
efigies supporting garlands and bearing on their heads bas- 
kets of fruit, cartouches, banners and lions. — 


Height, 11 feet 3 inches; length, 16 feet 7 inches. 


SI ‘ON FNDOITV LID 


16. 


ITALIAN. TAPESTRY, A COMPANION TO THE 
PRECEDING Early Sixteenth Century 


L’ENTREE TRIOMPHALE DE CESAR. In this picture the trium- 
phal procession is continuing toward the right, with nine horse- 
men visible, carrying banners, insignia and laurel branches, 
their apparel and that of their horses a display of bright and 
of sober colors. Men and women line the route of the pro- 
cession, others are seen in gardens in the background, and 
Roman matrons look on from neighboring balconies. Some 
of the spectators are of amorous inclination. Border similar 
to that of the companion piece in the preceding number. 


Height, 11 feet 5 inches; length, 12 feet 4 inches. 


Note: These two tapestries, of which duplicates are not known, are from 
an historical chateau in Austria and were a gift of the Hapsburg family. 
Having always remained in the chateau, their remarkably fine condition is 
explained. 


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CATALOGUE No. 16 


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BRUSSELS TAPESTRY Early Seventeenth Century 


LA FETE DES VENDANGES, The gathering of the grapes is 
in full swing, workers being seen in a vineyard on the right 
and on their way with laden baskets to dump the grapes into 
a greater basket in the centre of the foreground. On the 
right a man is seated near a mound of hay cutting bread, and 
on the left are a couple dancing. Attached to a tree on the 
left is a panel reading “MAAND (month) ocTOBER.”’ ‘The 
scene 1s a lively one in the sunshine, and in the background is 
pictured an extensive and diversified landscape. Broad bor- 
der with vases at the base guarded by grotesque animals, and 
rising from the vases vines laden with luscious white grapes; at 
the centre cartouches, and above them birds, torches and 
sheaves, with volutes and shell patterns at the top. At the 
centre of the top a representation of Noah’s Ark floating on 
the waters. At the bottom are flowers, birds and sheep. 
Signed in the lower selvedge, M. WAUTERS. 


Height, 14 feet 1 inch; length, 17 feet 2 inches. 


CATALOGUE No. 17 


18. 


BRUSSELS TAPESTRY Seventeenth Century 


LE TRIOMPHE DES ARTS. A grand tapestry with heroic fig- 
ures brilliantly costumed, some of the costumes jeweled. 
Painting, Sculpture, Literature, Architecture are conspicuous 
among the arts represented, by male and female figures stand- 
ing and seated, with Architecture—a thoughtful female— 
seated on a globe and dominating the group. Sculpture is at 
left; Painting at right, seated before her easel. Behind 
Painting stands a bearded and solemn man holding a large 
volume. Altogether there are twelve figures, in costumes 
and draperies of splendid color and enriched by gems. In the 
distance to right are seen water-courses and mountains. The 
scene is bordered by an affluence of fruit and flowers in mul- 
tiplicity of colors, with figures partly concealed emerging 
from amongst them, and at the bottom are globes and dials. 
The border forms not a frame, but works into the body of 
the picture. Signed, lan I. Eynrers, in the lower selvedge, 
accompanied by the Brussels mark (a shield between two 
BB's). 

Height, 12 feet 8 inches; length, 18 feet 5 inches. 


Sf “ON ANODOTV LVI 


19. 


PARIS TAPESTRY, FROM THE ATEDIER ORS iiae 
FAUBOURG ST. MARCEL Seventeenth Century 


ARTEMIS AND THE NYMPH BRITOMARTIS. [he daughter of 
Jupiter has thrown herself into the sea, thus escaping the pur- 
suits of the Cretan king Minos. A nymph accompanying 
Artemis on parting the reeds bordering the water perceives 
the body of Britomartis, and Artemis and another nymph in 
sorrowful surprise approach from the left. From the right a 
bewildered shepherd hastens up. A varied landscape in a 
brilliant atmosphere. In the distance are hills and villages, 
and on the farther side of the stream two other figures are 
rushing toward the water. Border of brilliant garlands with 
small animals and birds. 

A tapestry of the same subject figures as No. 492 in the 


collection of the Hapsburg family. “The Gobelins manufac- 


tory also treated the same story. 


Height, 10 feet; length, 11 feet 2 inches. 


From the collection of the Polish Prince Lubetzky. 


CATALOGUE No. 19 


20; -FLEMISH RAPES ERY Seventeenth Century 
A GAME OF CROQUET (after Teniers). A number of figures 
have gathered before an inn, which appears at the left, and 
are variously enjoying themselves, one couple dancing to the 
music of a violin, other persons playing croquet, and yet others 
seated at refreshments, not without a touch of amorous gal- 
lantry. The scene of merriment is under overarching trees, 
with fountains playing on the right, and the background en- 
larges into a formal park where are perceived other fountains 
and marble statues before a chateau. Border of deep brown 
ground enriched with a profusion of garlands. 


Height, 9 feet 9 inches; length, 12 feet 8 inches. 


From the castle of the Polish Prince Lubetzky. 


0¢ "ON ANOQDOIV LVI 


21. 


BRUSSELS. TAPESTRY Seventeenth Century 


LES BIENFAITS DE L’AGRICULTURE, an allegorical scene rep- 
resenting a goddess of earth seated on the right offering a 
magnificent cup of wine to the City, figured as another deesse 
seated on the left with one arm thrown over a geographical 
globe on which a cupid is at work with compasses. The globe 
rests on the back of a recumbent lion. The foreground is 
overflowing with fruits and vegetables—pomegranates, grapes 
and apples piled high with asparagus, cucumbers, melons and 
pumpkins—and at left of the lion is a monumental pedestal 
with sculptured ornamentation. Back of the first goddess—or 
nymph—who wears garlands in her hair, is a huge wine butt 
over which peers a Bacchic infant, while another who kneels 
beside the nymph is sipping wine. At right and left and across 
the top of the picture, in place of borders, the motive of the 
abundance of fruits is continued in a wealth of color, the fruits 
across the top being festooned between trees of the tropics and 
trees of more northerly climes. In the distance is architec- 
ture, and rugged mountain peaks rising toward the clouds. 


Height, 11 feet 7 inches; length, 14 feet § inches. 


One of the handsomest pieces in the collection; a gift from Baron Arthur 
de Rothschild. 


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CATALOGUE No 


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MAGNIFICENT BRUSSELS TAPESTRY, FROM THE 
ATECIERS -VAN-DEN® PIE Chee 


Seventeenth Century 


AuTUMNIs. Old-gold and deep crimson, rose and the fair- 
est of blue, burnt-orange, green and a deep cerulean, ivory and 
a silver white—the whole enriched with interwoven gold 
threads: a resplendent fabric of color and light. Allegorical 
figures in a vivid, corruscating expression of the abundance of 
autumn; one of a series of four tapestries of the Seasons, the 
significance of the figures comprehending also signs of the 
Zodiac, the Balance (Libra) appearing on the left and the 
Archer (Sagittarius) on the right. At the centre Ceres is 
enthroned, wearing a glorious gown and with a not less 
glorious drapery at her feet, where also lie the fruits of 
autumn in gay abundance. In the middleground on the right 
workmen from the vineyards, having come across a river, are 
bringing up the grapes to a chateau which stands at the left, 
the ladies looking down from balconies of their splendid 
palace upon the labors, which terminate in a feast taking place 
below. Wide and affluent border of fruits and flowers, of 
superb design and execution, in many light colors on a golden 
ground. Intermingled are vases and banners, birds perched 
and on the wing, gaily colored paroquets and white pigeons 
among them. Masks look out from the ornamentation, and 
in the lower border are running animals among the flowers. 


Signed in the selvedge, I. F. V. HECKE. 


Height, 12 feet 7 inches; length, 18 feet 2 inches. 


é€ “ON ANODOTV LVI 


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23. GOBELINS ‘TAPESTRY Seventeenth Century 


LA CREATION DE BYZANCE—one of the Constantine series. 
The Emperor Constantine stands at the right, laurel-crowned 
and wearing a mantle of deep crimson ornamented in blue and 
gold, a bearded philosopher supporting him and peering over 
his shoulder. Above the head of the emperor an eagle flies, 
bearing a chaplet of laurel in its talons, and before him, on a 
pile of capitals and columns lying on the ground, an architect 
kneels and with an attendant presents to the emperor his plan. 
In the distance on the left appears a growing city. In the left 
foreground a sculptor and laborers are at work. Border in 
many colors, with a variable ground, its ornamentation flowers, 
trophies, cartouches and amorini. At the centre of the upper 
border is the motto “In hoc signo vinces.” 


Height, 11 feet 9 inches; width, 10 feet 8 inches. 


Note: A series of the Story of Constantine containing this picture, with 
exactly the same composition, but of greater dimensions, belongs to the imperial 
Hapsburg collection, and four years ago was exhibited by the city of Vienna 
at the Belvedere. 


CATALOGUE No. 23 


24. BRUSSEHESS TAPES Thy Eighteenth Century 


SANCHO BERNE. One of the diverting episodes at the inn 
which Don Quixote thought was a castle. Sancho, whose don- 
key stands idly at the right of the picture, is being tossed in a 
blanket by four Spanish youths who stand toward the left of 
the composition. Near them a maid carrying a kettle ap- 
proaches and hails the merriment. ‘The branches of a tree 
behind her overhang some of those holding the blanket, and 
fruit on the boughs hangs near Sancho as he bounces in the air. 
At left 1s the inn, from a balcony of which a couple look down, 
and ladies and gentlemen are standing on the ground below 
enjoying the spectacle. Others on the right are unmoved, and 
back of them the Knight of La Mancha gallops up on his 
horse, lance at tilt. Beyond him is a diversified landscape 
with flocks and herdsmen under an active sky. Formal border 
of rigid conventional designs in floral and scrolled motives. 


Height, 9 feet § inches; length, 15 feet 5 inches. 


Note: The only other known tapestry representing the tossing of Sancho 
formed part of the imperial Hapsburg collection, and was exhibited some vears 
ago in the Belvedere, at Vienna. 


2 ‘ON TNDOTV.LVOD 


SUITE OF THREE GOBELINS TAPESTRIES 


After drawings by Le Brun, first director of the Manufacture 
des Gobelins {who died in 1690), and representing Les Jeux 
d’Enfants. With borders by the celebrated Bérain. 


GOBELINS: TAPESTRY Early Eighteenth Century 


JEU DE COLIN-MAILLARD; blindman’s buff. Quaint children, 
some with the faces of elders, at games on a rocky ledge, 
with shrubbery and wild flowers around them and tall trees 
rising aloft, their foliage golden in sunshine and dark in par- 
tial shadow. At the extreme right a tree silvery-blue projects 
into the picture. Beyond the ledge the landscape in vast 
reaches extends to vague distances, the sunlit atmosphere shim- 
mering over a great valley through which a stream courses 
and falls in cataracts through the arches of a bridge. High 
in the mountains on the left a castellated structure COmMM Btls 
the lands below. 

The figures number six, the three on the right playing 
blindman’s buff. One holds high a tambourine. 

Bérain border of flowers and conventional designs in gay 
colors on a light ground. 

10 feet square. 


CATALOGUE No. 25 


26. GOBELINS ‘FAPESTRY Early Eighteenth Century 


Series: JEUX D’ENFANTS. On the brown earth of the fore- 
ground half a dozen children are at play, grasping and slap- 
ping one another with their draperies, which are crimson and 
blue, rose and old-gold, and white. Around them are rocks 
and shrubbery. ‘lrees spread overhead, causing partial shad- 
ows, while in the background all is sunshine, over rounding 
hills and their neighboring valleys. Bérain border, the highly 
formal designs woven in soft colors on a light ground. 


10 feet 7 inches square. 


26 


CATALOGUE No 


rar 


GOBEIINS TAPESTRY Early Eighteenth Century 


Series: JEUX D’ENFANTS; children in a glade. Eight children 
aré here depicted at play, one being carried pick-a-back in a 
group which is gathered at the centre. Two others are danc- 
ing at the left, and on the ground at the right a small girl is 
seated with her back against a tree playing a flute. Trees at 
the right and left and a clump of them at the centre rise to the 
height of the composition, and some of them above it, casting — 
mellow shadows over the foreground, and a winding road 
leads to the sunny distance. 


Height, 10 feet § inches; length, 12 feet 3 inches. 


CATALOGUE No. 27 


28. VERY FINE PARIS TAPESTRY—GOBELINS? 

Seventeenth Century 
JEANNE D'ARC QUITTANT SA FAMILLE POUR SE RENDRE 
AUPRES DU ROI DE FRANCE. In sombre colors the corner of 
an old woden cottage appears on the right, a background for 
an active group of persons—the family of Joan, an old man 
who has been interrupted at his work as a basket maker, 
youths at first equally all but paralyzed with fright at the ap- 
parition of the Maid, and inside the cottage an elderly woman. 
The Maid coming upon them from the left appears in a flow- 
ing red cloak over a cuirass, and back of her in the distance are 
seen fields traversed by streams and bounded by hills. Wide 
border of light blue ground, supporting an interlacement of 
grapevines in full fruit—in allusion to the celebrated vine- 
yards of Lorraine—in rich golden-yellow, with cartouches of 
the young Bacchus and a goat, cherubic heads enwreathed in 
grapes, and at the lower corners satyr masks. 


Height, 10 feet 4 inches; length, 11 feet 2 inches. 


28 


CATALOGUE No. 


ap 


BRUSSELS TAPESTRY Seventeenth Century 


DANTE CONVERSING WITH A MUSE. At the corner of a terrace 
in a magnificent park of Italian style the poet stands, on the 
right, his hands in gesture, in conversation with a Muse who 
is seated. She also gestures with eloquence. In the fore- 
ground at left below them a pair of chickens and a large bird 
appear attentive, as they stand beside tall blooming flowers. 
Back of Dante is a statue on a pedestal and overhead ripe 
fruit is hanging from a tree, while on the opposite side, at left, 
ornamental trees extend their leafage toward the sunshine. 
In the park in the background fountains are playing in the 
dazzling sunlight.. Rich border of resplendent gardens, at 
either side displaying a classic bust. 


Height, 9 feet.7 inches; width, 9 feet 5 inches. 


29 


CATALOGUE No. 


30. 


BRUSSE ES: TAPES TRY. Seventeenth Century 


Garden scene with figures. On the rigidly confined waters of 
a lake in a park of formal design two ladies are being 
rowed by an attendant in a canopied boat. One plays the lyre, 
her companion reads a scroll. Fountains play on both sides 
of them, and at the left a female figure mounts some steps 
with a wave of the hand to them, while across the water to 
the right two other women are looking on. The surround- 
ings are woods, and flowers brighten the shrubbery, and in 
the open background a palace stands in the sunlight. Border 
of garlands, birds and shields on a light yellowish ground. 


Fleight, 9 feet 9 inches; length, 10 feet 9 inches. 


CATALOGUE No. 30 


AUBUSSON “TAPESTRY Eighteenth Century 
LE JEU DE COLIN-MAILLARD; blindman’s buff, Here repre- 
sented by young people in the costumes of the period, whereas 
in the tapestry after drawings by Le Brun the players were 
children clad ‘‘a l’antique.’’ Five figures are displayed in 
pale rose and crimson, deep cerulean, white, golden-yellow 
and a light and delicate blue. Four centre their interest in 
a blind-folded youth feeling for what he wants to find, while 
between two young women, one of whom lightly presses a 
finger on his bandaged eyes, the other cautioning silence on 
the company. ‘The gay colors of the costume sparkle in the 
sunshine which bathes near-by trees and the distant landscape, 
where buildings appear in the warm summer glow. Narrow 
border of floral and conventional designs with a jeweling en 
cabochon, 


Height, 7 feet 3 inches; width, 7 feet. 


CATALOGUE No, 31 


B2. 


AUBUSSON TAPESTRY Eighteenth Century 


BERGERE ET SON TROUPEAU. At left a shepherd boy walks 
lingeringly along a brook, while the shepherdess on the right 
looks after him. She stands amid her flock in a gray-green 
meadow. Beyond her is a cow, and near by two milkmaids 
stand gossiping with interest at a well, where they have come 
to draw water. Further afield two other figures are seen, 
and on distant hills masses of classical architecture. At left 
in middle distance a bridge leads to the chateau. Ihe 
various figures are clad in crimson, white and blue, brilliant 
in the-soft sunshine illuminating the entire composition. 
Narrow border of garlands, with shell patterns at the 
corners. 

Height, 9 feet 2 inches; width, 7 feet 5 inches. 


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CATALOGUE No. 32 


PNT VERS IAN TERS ILS 


BORO NITED STATES AND STATE TAX 
INSURANCE AND OTHER PURPOSES 
CATALOGUES OF PRIVATE COLLECTIONS 


0 APPRAISALS. The American Art Association, Inc., 
will furnish appraisements, made by experts under its direct 
supervision, of art and literary property, jewelry and all 
personal effects, in the settlement of estates, for inheritance 
tax, insurance and other purposes. 


CATALOGUES. The Association is prepared to supple- 
ment this appraisal work by making catalogues of private 
libraries, of the contents of homes or of entire estates, such 
catalogues to be modeled after the fine and intelligently 
produced Sales catalogues of the Association. 


Upon request the Association will furnish the names of 
many Trust and Insurance Companies, Executors, Admin- 
istrators, T'rustees, Attorneys and private individuals for 
whom the Association has made appraisements which not 
only have been entirely satisfactory to them, but have been 
accepted by the United States Estate Tax Bureau, the 
State Tax Commission and others in interest. 


The AMERICAN ART ASSOCIATION + INC. 
MADISON AVENUE: 56rx to 57TH STREET 


New York (ity 


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